Archive for the 'Environment' Category


‘Connecting the Frontal Cortext to the Solar Plexus’: The Ashden Directory’s Contribution to EMOS

The folks over at The Ashden Directory participated in this year’s Earth Matters on Stage at the University of Oregon from afar — an act borne of the desire to contribute to the conference/symposium without flying across the globe to do so.

Here is a DVD they produced in order to introduce their session. It’s a stand-alone piece of work, with fantastic insight. I think my favorite moment is when Mojisola Adebayo says that many theater artists believe that theater is “inherently good for you, therefore theater makers inherently do good.” She goes on: “I don’t think any of us think our work could be harmful in anyway.” When will we, as theater artists, admit that our work can be, and often is, harmful?

Vodpod videos no longer available.


Theater Matters – Notes from EMOS 2009 Part II

It’s 11am where I’m from (9am here on the west coast), and I just woke up. The schedule so far this weekend for EMOS coupled with my determination to get everywhere on a bike while I’m here has added up to the biggest physical challenge I’ve undertaken since my chemo and surgery. At about six o’clock this morning I woke up with a painful cramp in my right calf. I was determined to sleep as long as my body needed. So I did.

I wanted to write more yesterday about EMOS, but my day was so full with the goings-on here, I never got a chance. I arrived at the University of Oregon yesterday morning and began a solid, nearly twelve hour marathon of stuff.

Outside the Miller Theatre Complex at the University of Oregon on my first day at EMOS 2009

Outside the Miller Theatre Complex at the University of Oregon on my first day at EMOS 2009

It began by sitting in a classroom, listening to theater scholars describe their work. “Theater scholars,” I thought when I heard the term spoken from behind the lectern for the first time yesterday. “Not theater artists?”

Within the several scholarly talks I listened to yesterday there were a few that stood out, and rose above the scholarly drone.

Downing Cless of Tufts University spoke interestingly of how he has directed classic works to draw out their Ecological themes. What I found most interesting about Cless was his final thought: that even if we are able to draw out the environmental themes in this (very old) work, we are still “dependent on the mechanics of the stage.” As an example he mentioned that Aristophanes relied on a crane for his work The Birds (a work Cless has directed) when first produced. With this thought he ended his talk, and it seemed to be either an open ended challenge for folks like me or a rebuke of the idea that it is equally important to produce in an eco-responsible manner as it is to draw attention to our relationship with nature on the stage.

Heather Barfield Cole (who told me this morning that she’s dropping the Cole from her name soon) of UT Austin described a handful of examples of successful activist theater, including the street theater of Bread & Puppet and even the work of ACT UP — her presentation was refreshingly free of the seemingly typical readerly drone of such things. She spoke of the criteria of activist theater, and I feverishly tried to jot down her list, but fear I missed too much of it to reproduce here; however, in quotes I did write this: “not as luxury, but out of need.” Enough said?

The highlight of my day, however, was unexpected: Anne Justine D’Zmura gave a presentation to an entirely too small audience on her experience of producing a work called Green Piece at Cal State Long Beach, where she is a professor. Her work was one of the best examples I’ve yet seen/heard of in this genre of so-called EcoDrama that I have encountered. Why? It was a completely holistic approach to the problem that we (I think) hope to address when producing work on the environment, sustainability, et cetera. She not only created an original work that thematically addressed the issue of nature, ecological destruction, and social injustice (to name a few), but also took the idea of the thing to heart and made sure to use the work to educate her students (and herself) on the core issues, as well as — and here is where you know I get excited — making a concerted effort to create a piece that tread as lightly as possible on the environment by considering its use of resources carefully. Thank you, Anne. (here is a link to Anne’s study guide for Green Piece.) As a side note: not even the work presented here at EMOS could attain the level of “solving for pattern” that D’Zmura so creatively reached in her work on Green Piece.

Next came Rachel Rosenthal. The now 83-year old performance artist and activist was in good form, and showed excerpts from her works Gaia, Mon Amour (1983), Rachel’s Brain (1986), and L.O.W. in Gaia (1986) — all overpowering examples of her presence on the stage. She struck me as one of the most quotable speakers I’ve ever listened to. Some examples:

“Artaud saved my life.”

“I do love some people, but I love all animals.”

“I hate being old, because I want to see what happens.”

The evening ended with a staging of C. Denby Swanson’s Atomic Farmgirl, a retelling of Teri Hein’s memoir of the same name which details her experience growing up on a farm in Washington state that was repeatedly contaminated with radiation leaking from the nearby Hanford Nuclear site. It was a play in three acts, with two (did I say two?) intermissions. And I have to say this too: as someone who has dealt with cancer directly over the past two years, I was a bit unnerved that the 1st and 2nd place winners of the EMOS play festival both dealt with cancer in a very real way.

Oh, and I almost forgot: I met Theresa May yesterday too, and she was incredibly kind. For all of the nit picking I am capable of, I cannot forget (and won’t let you) that she has undertaken this festival and is obviously a friggin’ force of nature herself. She is to be congratulated for her fortitude and drive — she is asking us to think about these things as theater artists (and scholars), and that in itself is crucial to our future.

Of course, folks never fail to disappoint:

Garrett points at the strange use of the garbage can outside UO's Miller Theatre Complex

Garrett points at the strange use of the garbage can outside UO's Miller Theatre Complex

It may be difficult to tell in the photo above, but it was surprising to see how so many people at a festival concerned with the environment and our behavior towards it could be so clueless about what to NOT throw in the trash. Behind Ian are a string of recycling options, as well as a yellow bin for compostables — all items used for eating at the festival are designed to be compostable except (I’m not clear on why this is) the forks. But, nearly everyone threw their stuff right in the trash — even the paper plates and seemingly clean napkins. As we walked away from this, Ian and I had a discussion about the need to eliminate sorting at the consumer end of recycling. It confuses, is inefficient, and generally redundant, as most municipalities sort the recycling anyway.


Theater Matters – notes from Earth Matters on Stage 2009 part I

Okay, so I can’t keep my nose out of it…

I’m here in beautiful Eugene, Oregon attending the 2009 Earth Matters on Stage: A Symposium on Theatre & Ecology at the University of Oregon. Last night was the official beginning of the event with keynote speaker Una Chaudhuri giving a talk on what she has dubbed Zooesis, or the discourse of animals (or, rather non-humans) in the media.

As I emerged from the talk I looked at Ian Garrett of the Center for Sustainable Practice in the Arts and Moe Beitiks of the Green Museum Blog and said: “I’m not smart enough to be here.” Which is to say if the opening moment of EMOS 2009 is a reliable indicator, it will be a highly academic affair. Chaudhuri was followed by obligatory phases of mingling with strangers (not my forte) while smugly observing the corn-based disposable cups, paper plates and napkins, an engaging, often heart wrenching (though also quite academic) play by EM Lewis called Song of Extinction, and the most structured post show discussion (aka talkback) I’ve ever participated in, led by Cal State LA professor and playwright Jose Cruz Gonzalez. Part of me thought, “oh, I shouldn’t have stuck around for this.” It had the effect of stifling the power of the play, and its masterly intertwined themes. I jotted on my program during the talkback this tidbit: “Robbing the visceral through incessant deconstruction.” But that’s my own problem, right?

More later…


In the Audience

I’ve worked in theater in some form or another since high school. I have had a bad habit throughout my life in theater of being the type who says (or at least thinks) “I don’t want to go watch theater, I see so much of it from backstage, from the booth, I see it in rehearsals all day long…” So, I don’t sit in the audience much.

Now, because of the illness that blindsided me over a year ago, I really feel like a spectator sitting in the audience watching the future of green, eco-responsible theater rushing by in flashes. It’s difficult to do. So much has happened in the last few months, and ecoTheater has missed it. People close to me will roll their eyes when they find that as I write this lament I am sitting in a hospital room in Indianapolis waiting for my second and final round of high dose chemotherapy to commence. “Who cares about green theater?” they will ask.

I won’t lie — it isn’t that difficult to realize that I’ve missed out on reporting on the big Broadway initiative, supported as it is by the mayor of New York City, or the up and coming Center for Sustainable Practice in the Arts (CSPA) (founded and driven by Ian Garrett, a regularly mentioned activist on ecoTheater), or the fast approaching Earth Matters on Stage (EMOC) at the University of Oregon, or, or, or…

I mean, it’s easy enough to see that there are bigger things to consider in my life right now. But, what can I say? For once, I hate being just a spectator. It’s like sitting through hours of rehearsal, not saying a word to anyone, and not participating in any way in the production.

For now, I have taken a leave of absence from my job with CTM and have done very little “work” of any kind in the last month or so. The only project I have spent time on is the Cancer Stories Project, hopefully the first stage work for the still-being-founded Wisconsin Story Project (WSP), which I hope to be a new model of theater that will take bits and pieces from many idea-makers, heading towards not just ecologically sound theater production, but also aiming to be a model of theater that solves for pattern (or here).

Who knows? Perhaps one day ecoTheater will simply morph into a blog tracking the progress of WSP, and how we’re doing our best to stay green, while tackling other issues that plague today’s so-called regional theater.

But no matter what I’ll be back here writing soon. So, don’t forget about me…


London’s “Green Theatre” Plan

As I read through London’s recently released plan of action for their theaters, I kept asking myself how the climate (and I don’t mean the weather kind) in London — or Europe in general — allows such things to happen. I know that NYC mayor Bloomberg has taken steps to encourage a greener Broadway, but to my knowledge nothing at the level of London mayor Johnson’s report would happen here in the States. At least not this quickly, this comprehensively…I just don’t see it.

In short, I’m amazed with the document they produced, and the related “Green Theatre Calculator 2008” (download your own excel copy here), which is a great tool for theaters everywhere. Thank you London.

I could go on and on about this report, but instead I’ll hit some highlights, and strongly encourage you to download a copy and study it — especially the “practical actions.”

  • 35% of London theater’s carbon emissions come from “front of house” operations, including heating and cooling
  • 9% of the emissions are the result of “stage electricals”
  • The entire London theater industry has a carbon footprint “roughly equivalent” to the energy use of nearly 9,000 homes
  • The report advocates factoring “equipment energy costs” into production budget
  • An appendix to the report lists the top actions that theaters can take, including:
  1. Switch off stage lights when not in use
  2. Reduce energy use in exterior lighting
  3. Implement energy management program
  4. Minimize travel emissions

Again, this post barely scratches the surface of the report. Read it yourself. If we all manage to implement a fraction of its suggestions, and are inspired by one of its case studies, we will push green theater in America nearer to true sustainability.


Mayor of London releases “Green Theatre” report

Boris Johnson, London’s mayor since May, has just released a comprehensive report on the greening of London theater entitled “Green Theatre: Taking Action on Climate Change.”

Once I have more time to go over the report, I will write more about it. For now, you can see a good news piece on it here and download the full report here.


toward a more sustainable theatre

Surprisingly, this blog exists in part due to the Theatre Communications Group. I pitched editor Jim O’Quinn on an article taking an objective look at the supposed greening of theater operations in this country. He and his staff liked the idea, and so I started working on it, contacting theater artists across the country to talk about it, and even asking those I was interviewing for other writing projects what they thought.

Alas, life interfered: I was diagnosed with cancer, and the editors at American Theatre simultaneously (nearly anyway) decided the piece of reportage I turned in was not objective enough. After treatment — and after I’d recovered enough to care again — Jim asked me to write an opinion piece on the subject instead.

So, after more than a year of work and thought, my essay on the importance of sustainability (or eco-friendliness, or environmental responsibility, or whatever you choose to call it) within American theater has finally made it into the pages of the magazine. I hope you read it — and I hope it helps reach more people than this blog ever has.


ride your bike to the theater?

One Less Car

The other night I went out to dinner with my wife and my in-laws. We went to a great Indonesian restaurant not far from our house that we’d never visited before. After a great meal, I noticed a little sticker on the front door: blue and white with a stick figure riding a bike, it read “Bicycle Benefits.” I reached in my back pocket for my notebook to jot it down and look into it, but the notebook was missing. So, I said to my wife, Dawn, “remember bicycle benefits.”

Bicycle Benefits is a basic incentive program, and it works like this: individuals buy stickers, slap them on their helmets, and ride their bikes to participating businesses (restaurants, coffee shops, retail, etc.) and receive discounts. This could be adopted by virtually any business, encouraging people to get out of their cars and onto their bikes — including theaters.


Q & A with Scott Georgeson

Recently, I thought it might be nice to have a sort of guest speaker here on ecoTheater who really knows what they’re talking about. I’ve asked a few people over the last several months if they’d be interested in answering ten specific questions about green theater, and the one person who has really come through and given us all a window into his informed perspective is Scott Georgeson, a theater architect with HGA Architects & Engineers in Milwaukee.

Georgeson first caught my eye a few months ago when I noticed his name cropping up repeatedly in regards to green theater buildings. He co-presented the session “To LEED or not to LEED” at this year’s USITT conference, presented a two part series entitled “On Greening Historic Theatres” for the League of Historic American Theatres Conference (LHAT), and was part of the panel at NATEAC’s entitled “The Greener Theatre.”

The interview below was conducted via email.


ecoTheater: what kind of work do you do?

Scott Georgeson: I have been fortunate. My first job out of school in the mid 1980’s, was with the architectural firm designing the Milwaukee Repertory Theatre (MRT). This was an unbelievable experience. We spent countless hours working with MRT’s management, technicians, designer and performers to get every theatrical detail right. They were also concerned with audience accessibility before ADA (Americans with Disabilities Act) was a regulation and reducing energy use before LEED was standard practice. MRT also pushed us to think beyond the needs of the theatre company. This resulted in saving a landmark building, rejuvenating an area of downtown Milwaukee and building one of the first sections of the river walk. I bring the lessons learned from MRT to all my Arts projects. Since then I have completed programs and designs for over 100 facilities for the performing arts, including one of the first LEED rated theatres in the US. Since the mid 1990’s I have been giving “Green Theatre” presentations to theatre organizations. The theater community’s interest in the “Green Theatre” continues to grow. This year I presented at the League of Historic American Theatres Conference (LHAT), United States Institute for Theatre Technology (USITT), North American Theatre Engineers Architects Conference (NATEAC) and attended the Theatres Trust Conference on Building Sustainable Theatres in London.

eT: what role do you play in the greening of arts organizations?

Being a theater architect, planning and coordinating the engineering of theaters is the expected role. The unexpected role is to develop a green agenda. I open up the conversation to the bigger picture, bringing alternative views, and showing the connections between seemly unconnected issues. The first challenge is to make clear it is easier to be “green” than you think. For example, the Peninsula Players Theatre in Fish Creek, Wisconsin did not start out thinking they wanted to be green, but it seemed a natural fit for them. They are located on a beautiful wooded water front site. Their old theatre had a problem with rain noise and flooding and their ugly, white rubber roof was visible from everywhere. It also developed mold from the high humidity and shade from the surrounding forest. A vegetative roof was the perfect way to control the flooding, provide acoustical density, add life span to the roof material, and it looked great! The mixer of seedums and wild flowers blended perfectly in the surrounding cedar forest. This was a green solution that solved a lot of nagging problems.

Second, you need to think beyond the bricks and mortar and look at the big picture. One of my first presentations on green theatre was to LHAT. An audience member claimed “we can’t be green because we are a historic theatre.” I pointed out there is nothing greener than reusing a building. They are also located in the downtown and could jump start a renewal of the area, saving other buildings and using existing city infrastructure including public transit. The theatre was built before air conditioning, relying on natural ventilation through a floor plenum and roof exhaust vents. This would allow for a displacement air system, which is very efficient and a trend in the HVAC system designs in green theaters. We talked about reusing the theater seats, starting a recycling program, changing out building equipment, etc. He started to understand the bigger picture and concluded they were already on track to be green.

eT: how do you define sustainability?

Sustainability is about conserving resources, having a minimum impact on our surroundings and understanding the long term impact of our actions. Sustainability understands the difference between “needs” and “wants”. Sustainability requires you to look for new ways to become more efficient and save resources everyday.

eT: do you think sustainability is an appropriate term in the arts, or even an acheivable goal — or, should we simply call it “green,” or “eco-friendly,” or “eco-responsible?”

A couple of years ago a web search on “sustainable theatre” would bring up articles on the “financial sustainability” of theater organizations. Today there are more links to “green” articles. I believe both topics are related. Theatres are a business and need to survive in order to present their Art. Reducing and saving resources should be an integral part of every non-profit’s plan, especially when operation money is always short. I do like the term “eco-responsible” – it speaks to a broader thinking.

eT: what role do you think arts organizations can (or should) play in creating sustainable communities?

This is a great follow up to the previous question. My broad view is that arts groups are crucial to our quality of life and add to the livability of our cities. The arts reach across all income levels, education, race and political beliefs. I don’t think it is an accident that cities with great art institutions are the most desirable and rank high in livability. Holding together cities reinforces sustainability by preserving investment in existing infrastructure, reusing resources and creating community. At an organizational level, each arts group should take the lead in promoting sustainability. For example, historically movie theatres in the 1940’s and 50’s were used to sell the idea of air conditioning to the general public. A regular audience is a marketer’s dream and arts groups should continue to take advantage of this to promote sustainability and their own green programs.

eT: what are the major obstacles for arts organizations when they consider taking steps towards greening their operations?

Change is not easy for anyone. But, through simple and clear steps, greening an organization’s operations can save money and improve the working environment. These are the top four reasons I have heard from theatre groups for not being green and an alternative way to look at the issue.

1. We don’t have the time. The show comes first. Time is always critical and may not allow you to change your process. But this shouldn’t stop you from changing your thinking. Time may only permit putting the struck set in the dumpster. A green solution would have the dumpster picked up by a company that recycles wood and the set materials.

2. We don’t have the staff for extra tasks. I just want to focus on the show. There are many things you can do to make work easier and save you money – changing standard light switches to motion detection light switches, for example.

3. We don’t have the money for expensive building systems. Most energy saving devises are inexpensive and simple. Using LED lights in exit signs and fluorescent lamps in support areas will save energy and money over the bulbs life span. (Some studies show savings of over $40 a bulb.)

4. We have always done it this way. Yes we have, and that is what has gotten us into this mess.

eT: How important are green buildings in reversing the adverse effects of global climate change?

Reducing a building’s energy use is VERY important and our best hope at having an immediate impact on reducing our energy consumption and green house gases.

Buildings use 40% of all US energy. Studies show that the energy use of our current building stock can be reduced by 30%. This improvement would reduce the USA’s total energy needs by 13%. That is more than all the energy provided by the renewable energy systems now in use; 7% with out hydro generation. A 30% reduction in your theatre’s energy is not as hard as it sounds.

The example of the Theatre Royal, in Plymouth, England was presented in June at the Theatres Trust Conference “Building Sustainable Theatres”. Simple steps were taken to reduce energy use and reduce CO2 output. These steps include switching incandescent lights to LED’s and fluorescents, adding motion sensors to switch room lights, reprogramming the energy management system and trusting it to work, taking advantage of outside air temperatures for preheating and precooling, installing more efficient fans and pumps and developing ongoing performance monitoring to ensure savings were realized. This program resulted in the Theatre Royal reducing CO2 output by 33% and great savings in fuel costs.

eT: Can theaters go green in a meaningful way without greening their buildings?

Yes. Making changes in an organization’s daily operation has a big impact. For example, my firm, HGA Architects, is always reviewing ways to reduce waste and green our operations. Some of our practices include:

a. Recycling programs for paper, glass, plastics, metals.

b. Setting copiers to print double sided. (Resulting in a reduction of our paper use by 1/3)

c. Direct deposits eliminating paper checks.

d. Promoting staff usage of mass transit and bicycles. (All offices have bike rooms and changing rooms with showers)

e. Eliminating bottled water in favor of filtered tap water.

f. Using biodegradable cups and utensils instead of plastic.

g. Using green cleaning products.

h. Buying energy star equipment

i. Supporting similar minded suppliers for goods and services.

Some interesting programs that non-profit groups have taken on to support sustainability include; becoming a central drop for battery recycling, setting up ongoing fund-raiser recycling programs with local scrap yards, displaying information on global warming and the environment in business lobbies and buying renewable energy from the local utility company. Every little step helps.

eT: what is the most important step the leadership of a theater company can take towards sustainability?

It is critical to set a clear “sustainability” agenda. Establish a committee to examine the theatre’s daily practices. Be willing to look at everything, establish your priorities, have clear bench marks, and keep the long term in mind. Take advantage of the theatre’s community profile and support sustainable activities and organizations. From a building stand point, have an energy audit done. This will provide benchmark information on your building’s mechanical and electrical systems and you can pin point were your energy dollars are going. The results can be surprising. We recently looked at energy use for a theatre and found little difference in the days they had shows and the days they didn’t, highlighting how important it is to reduce a theatre’s daily energy needs. If you are upgrading HVAC systems, zone the HVAC to the use schedule of the theatre, and look into natural ventilation and energy star equipment. Adding natural light in backstage support areas can have a big impact on energy use.It will take time, a change in thinking and some investment, but in the long run you will create a better work environment, saving both money and the planet.

eT: what hopes do you have for the future of theater?

I am hopeful for the theatre arts. We are rediscovering our need for community and human interaction. Studies are proving how important arts education is to the well rounded student.People are moving back into the city to rebuild neighborhoods. Even retailers like Starbucks have recognized the need for our “Third Place.” The new Guthrie is certainly a large scale example of an arts complex trying to become a community living room. On a more intimate scale is the Tricycle Theatre in London that blends into the retail street and reaches into neighborhood with “alley like” lobbies. My hope is that arts complexes of all sizes strive to knit themselves into their surroundings to become the cornerstone of the community.

With regards to the building, every one needs to get past the perception that theatres and buildings for the performing arts can not be “green”. The reality is the typical theatre can be “eco-responsible”. The key to designing, constructing and operating a sustainable theatre is a commitment of the theatre company to question every detail, material, design concept and construction method.The big moves are important to create an efficient arts complex.But if you don’t get the little details, systems and materials right, they will continue to cost you operations money for years to come.

Ultimately, the future of theatre really depends on the writers, designers, technicians, directors and performers creating great theatre and this I know will continue.


Community Partnerships

Something I’ve been thinking about lately — and it seems to keep coming up at staff meetings at CTM, especially when our fantastic development director Christina Martin-Wright brings it up — is how as a company we can extend our reach outward into the community in ways that don’t necessarily have anything to do with theater or art, or directly benefit us in any way. Simply extending ourselves out, offering whatever it is we have, be it space, skill, time, people, or whatever.

One way that I have managed to work this into the company is through our relationship with Working Bikes, a chicago-based non profit that works to divert old bikes from the waste stream by collecting them as donations. What they do with the bikes is incredible: some of them will be sold to raise funds, but most of them are sent to needy people across the globe in order to give working people everywhere a form of transportation other than their feet. The folks at Working Bikes also offer workshops for the recipients of their bikes, teaching them how to maintain and repair the bikes they receive (give a man a fish…).

So, where does CTM come in? Well, it isn’t much, but it has helped Working Bikes continue to expand its reach. I offered our scene shop/storage space as a Madison drop site for the organization, so that they can collect bikes here while minimizing the need to transport bikes to and from Madison (about a three hour drive from Chicago). When I have more bikes than I can handle, I contact Working Bikes, and they come and pick them up.

The relationship that we have developed with Working Bikes supports the idea of sustainability beyond community partnerships too that is very straightforward: helping keep material out of the landfills.

what’s in a color?

"It should be about different kinds of symbols than the color green—wind farms, solar, renewable-energy laboratories, those things that are symbolic of the new energy economy. People think that we overuse the concept of green, and it could become trite in its expression.”
“This idea about green in a lot of people’s minds still conjures up this notion of a fringe or something that’s out-there. It doesn’t inspire this notion of a new America. It just seems more substantive than a color.” - Colorado governor Bill Ritter, Jr. in The New Yorker
Performance Art Blogs - BlogCatalog Blog Directory
Best Green Blogs

December 2021